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Home , Scherzo (Stravinsky), Sergei Prokofiev, Sergei Taneyev, The Gambler (Prokofiev), Toccata (Prokofiev), Vladimir Rebikov

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INFLUENCES SEEN IN PROKOFIEV'S STYLE

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Ronald Edwin Lewis, B. M. Denton, Texas

June, 1970 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS...... iv

Chapter

I. PROKOFIEV'S RUSSIAN PREDECESSORS. . . , * . . 1

II. THE FOUR PERIODS IN PROKOFIEV'S CREATIVE LIFE ...... 11

Childhood Youth Foreign Soviet

III. PROKOFIEV'S PIANISM ...... 37

IV. CONCLUSION...... 0 0 0 41

APPENDIX ...... 0 0 0 0 . . 0 43

BIBLIOGRAPHY ...... 0 . 46

iii LIST OF ILLUSTRATIONS

Figure Page

1. Moussorgsky, Pictures at an Exhibition, ]Bydd gmeas. 1-4. ~~~~...... 4

2. Prokofiev, Tales of the Old Grandmother, No. 3, meTasT- 37T-77 777 .~ . . . .6 ...... 4

3. Scriabin's "Mystic Chord" ...... 8

4. Scriabin, No. 5, Op. 53, meas. 19-22 . 0 . 8

5. Rise, Thou Golden Sun Rise, arranged by =Imsk=-"?~o s akov ~7.~~~~~" . . . . 6.a.0.0.4. 13

6. Prokofiev, Sonata No. 3, Op. 28, meas. 58-59 ~.~-. ~~~. 76 . . .s.0 .6.a.*.0.a . 14

7. Prokofiev, N-._2., Op. 16, fourth movement, meas. 83-86 ...... 14

8. Comparison of themes, Prokofiev, Concerto No, 3, Op. 26, first movement, meas. T""wan T is.*.0.0.0.a.0.0.*.0.*.0.*.#.0 0 .0.0 . . 15

9. Prokofiev, Little Sg No. 4, Series I. . 16

10. Prokofiev, Little Sog No. 10, Series I 17

11. Schumann, , Op. 7, meas. 34-35 . . . 19

12. Prokofiev, Toccata, Op. 11, meas. 82-83 * . . 20

13. Schumann, Toccata, Op. 7, meas. 254-255 . . * 20

14. Prokofiev, Toccata, Op. 11, meas. 57-58 . . . 20

15. Prokofiev, Sarcasme No. 3, meas. 2-3. . . . . 21

16. Prokofiev, Sonata No. 2, Op. 14, meas. 1-2. , . . 23 17. Prokofiev, Concerto No. 3, Op. 26, second movement, meas. 39-a0 ...... 23

18. Prokofiev, "Diabolic Suggestions," Op. 4, No. 4, meas. 27-28...... 0 25

iv Figure Page 19. Prokofiev, "Diabolic Suggestions," Op. 4, No. 4, meas. 97-98...... , . . . . 25

20. Prokofiev, Concerto No. 3, Op. 26, third movement, meas. 170-171 ...... 26

21. Prokofiev, Sonata No. 5, Op. 38/153, first movement, meas. 82-83 ...... 29

V CHAPTER I

PROKOFIEV'S RUSSIAN PREDECESSORS

The influence of existing musical trends is evident in almost every . Prokofiev entered the musical scene in when Scriabin was the recognized leader in innova- tion. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev.

In the latter half of the nineteenth century there began a movement toward in music. Among the most impor- tant of these nationalistic countries were Bohemia and Russia.

Composers deliberately drew their inspiration from the musi- cal resources of their native country.

From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian and in the beginning of the nineteenth century, French opera.

such as Field, Mayer and von Henselt were popular as both

teachers and performers. While other countries were being tapped as a source for

art-music, an abundance of native folk music was rapidly

1 2 accumulating for use by . The first com- poser to utilize this source was Michael Glinka (1804-1857),

Glinka was trained as a , but after his two works, A Life for the Czar and Russlan and Ludmilla, which utilized Russian folk themes, he became known as the "father of ." Glinka started the nationalistic move- ment in Russia that was later to be taken up by the "Russian

Five." The roots of modern Russian composition lie in two schools founded in the latter part of the nineteenth century.

The two Rubinstein brothers, Anton (1829-1894) and Nicolai

(1835-1881), established conservatories in and St.

Petersburg. The founded by Nicolai

Rubinstein reflected the influence of the German romantic school and was considered the more conservative of the two.

The St. Petersburg Conservatory founded by Anton Rubinstein followed more closely in the steps of Glinka in striving to establish a more nationalistic trend of new Russian music.

The basis of their music was the heritage of Russian folk material. These two schools, the Moscow and St. Petersburg

Conservatories, represent the learning trends in Russia up to the October 1917 Revolution.

Anton Rubinstein composed over two hundred individual piano pieces, in addition to numerous works in the larger forms. He was known mostly, to his own regret, for his virtuoso playing ability, Prokofiev's mother, an admirer of 3

Rubinstein, often played some of his pieces for the young

Prokofiev. While a student Prokofiev studied and performed

Rubinstein's concert Etude in .

The "Russian Five," Borodin, Rimsky-Korsakov, Balakirev,

Cui and Moussorgsky, exhibit the spirit of the St. Petersburg

Conservatory. Until the "Russian Five" little headway was made as far as serious piano composition was concerned. The "Five" drew their technique from the nineteenth century Ger- man school and the works of Beethoven, Schuman, Liszt and

Berlioz, and sought inspiration from Russian folk music in an endeavor to create a national Russian . The first of the "Five" to produce piano music of real significance was Moussorgsky (1835-1881), "the greatest musi- cal genius of Russia." 1 Moussorgsky established himself as a true Russian composer with his Pictures at an Exhibition

(1874), representing drawings and paintings of Victor Hart- mann. Copland calls Moussorgsky's work "the first really successful attempt to pull away from the German tradition."2 "Prokofiev had a special reverence for Moussorgsky, whom he admired above all as one of the greatest innovators, one who defied academic rules and blazed new trails." 3 Prokofiev often included in his concert programs Moussorgsky's Pictures at an Exhibition.

lPaul Henry Lang, Music in Western Civilization (New York, 1941), p. 948. 2 , Our New Music (New York, 1941), p. 18. 3 Israel V. Nestyev, Prokofiev (Stanford, 1960), p. 464. 4

In looking at Prokofiev's Tales of the Old Grandmother (Op. 31), one can see the same vivid characterization that is reflected in Pictures at an Exhibition. Prokofiev could possibly have gotten inspiration from Bydlo for the third Tale, with its melody over a staccato bass accompaniment.

Sempre moderato pesante.

a . - . - I I a m ff-ff--JWTJLA WTILAI-4-TR - . I i . .At I

TT w-M

FOCO a poco crese. No- UL

momNW momSi-mile

Fig. 1--Bydlo from Moussorgsky's Pictures, meas. 1-4.

Andante assai.

Fig. 2--Third Tale, meas. 1-3

This connection can easily be traced to other of Pro- kofiev's works, either programmatic or non-programmatic. Included in these are Fugitive Visions, "Diabolic Sugges- tions" and sections of the where the grotesque vein is akin to that of Baba Yaga of Moussorgsky's Pictures. 5

Prokofiev's biographer, Israel Nestyev, attributed these traits of Prokofiev's music to Moussorgsky: "What

Prokofiev inherited from Moussorgsky was, above all, his gift for bold description, his interest in the typical and comic aspects of life." 4 There is some evidence that Moussorgsky did attempt the larger forms. He wrote some of which the manu- scripts have been lost, and an early Scherzo of 1858. The remaining part of his output for piano is character pieces and is not considered important. The remaining members of the "Russian Five" are less important than Moussorgsky as far as piano literature is concerned. Cui wrote very little piano music. Rimsky-

Korsakov's Concerto in C-sharp minor, Op. 30, is his most important piano work and Borodin's collection of seven short pieces entitled Petite Suite (1875-1885) is his only work of any significance. Balakirev did some outstanding work in his oriental fantasy, Islamey (1869). The work is based on Cau- casian and Armenian melodies and is a display of technique borrowed from Liszt. Balakirev also wrote a Sonata in B- flat minor (1905) that makes use of Russian folk songs as themes.

With the break in the "Russian Five," Rimsky-Korsakov became one of the leaders, along with

4Ibid. 6

(1865-1936), of the St. Petersburg Conservatory. Their direct influence can be seen in their students until Prokofiev.

On the other side were the followers of the Moscow

Conservatory, mainly Tchaikowsky, Rachmaninov and Scriabin.

Sergei Taneyev (1865-1915) taught composition there. Taneyev exerted little influence on his students yet was one of the first to see promise in the young Prokofiev as a composer.

Tchaikowsky (1840-1893) was a student of Anton Rubin- stein and graduated from the St. Petersburg Conservatory in

1865. In 1866 he became professor of at the Moscow

Conservatory. His fame as a composer rests largely in his orchestral works, although he did write a great deal of piano music. Tchaikowsky's piano music is merely a con- tinuation of Rubinstein's style with some refinements. His fame in the field of piano literature rests largely in his B-flat minor concerto.

Sergei Rachmaninov (1873-1943) studied composition with

Taneyev at the Moscow Conservatory and graduated at the same time as Scriabin. His expert knowledge of the keyboard is reflected in his music. Although Rachmaninov lived in the twentieth century, his music is a direct descendant of the western romanticism of Chopin, Liszt, Schumann and Brahms.

Despite his conservative tendencies, however, Rach- maninov has remained popular with. both listener and performer. 7

Controversies raged over his music even in his own lifetime. Despite all this criticism, Rachmaninov cannot be denied his expert ability at writing beautiful, nostalgic melodies com- bined with his colorful .

Rachmaninov's solo piano works consist largely of character pieces. He also wrote studies, two sonatas, two sets of variations and the twenty-four preludes in addition to the four concertos and the Rhapsody on a Theme of Paganini,

Few instances of Rachmaninov's influence can be cited in

Prokofiev's early music, but the overall style of Prokofiev, with its economy of means, was in direct opposition to

Rachmaninov's style.

Alexander Scriabin's (1872-1915) entire output, except for six symphonic works, is for piano. Just as Rachmaninov, Scriabin was an outstanding pianist. He graduated from the

Moscow Conservatory and also taught there for several years before turning primarily to composition.

In his early compositions, Scriabin reflects the strong influence of Chopin whom he greatly admired. This influence can even be seen to the extent of the titles of his early character pieces: Preludes, Polonaises, Mazurkas, Impromptus, Nocturnes, and Etudes. The later Preludes, mainly those of

Opus 48, 67 and 74, are an exception. In these Scriabin be- gins to experiment more with harmony and from them his gradual development can be traced. 8

Toward the first part of the twentieth century a radi- cal change took place in Scriabin's style of composition.

He derived a concept of music and founded on Theosophy. Theosophy is "an Oriental occult religion that envisions man as ascending through several reincarnations towards even higher spiritual spheres, with art the ideal reflection of this ascent." 5

On this concept Scriabin derived his famous "mystic chord" based on a series of fourths rather than thirds. He was able to construct entire compositions around this chord.

A good example is in his fifth sonata.

a

Fig. 3--Scriabin's "Mystic Chord"

U-L to _

jF Add

Am AT,

Foco cresca dim. VP

A

Fig. 4--Scriabin's Fifth Sonata, Op. 53, meas. 19-22

5F. 1. Kirby, A Short History of Keyboard Music (New York, 1966), p. 4257we 9

Another very important factor in Scriabin's music is the pedal. As in impressionistic music, the pedal plays an important role in his music in uniting the widely spread sonorities.

Prokofiev's early music reflects some influence of

Scriabin as well as Rachmaninov. While still a student at the Conservatory, Prokofiev had a great enthusiasm for

Scriabin's later sonatas, as he also did for the music of

Debussy or for that matter, anything that was considered going against the established tradition of the time,

There are numerous lesser composers of Russian piano music during this period, but little, if any, direct influ- ence on Prokofiev can be seen, Among the more important ones are (1861-1906) who wrote some two- piano music and many smaller pieces, Sergei Liapunov (1859-

1924), Alexander Glazunov (1865-1936) (Prokofiev was a stu- dent of both Liapunov and Glazunov at the St. Petersburg Conservatory), Vladimir Rebikov (1866-1920), who was considered somewhat of an innovator with his experimenting in new tonal- ities, and Nicolas Medtner (1880-1951).

Medtner's total output is exclusively piano music. Of this literature there are thirteen sonatas and thirty-three character pieces entitled Fairy Tales. Prokofiev studied

Opus 8, No. 2, of these with Esipova at the Conservatory.

Although much piano music was being written in Russia in the nineteenth century, very little of it can be considered 10 imaginative and creative with the exception of Scriabin. This trend lingers on for the first twenty-five years or so into the twentieth century.

One critic in the Peteburgsky Listak of August 18, 1913, attempts to mark Prokofiev's place in Russian music: Prokofiev may even mark a state in the develop- ment of Russian music: the first stage being Glinka and Rubinstein, the second Tchaikowsky and Rimsky-Korsakov, the third Glazunov and Arensky, the fourth.criabin and. . . and,. . Prokofiev, Why Not?

The innovations and popularity of the Scriabin movement were slowly beginning to fade. Scriabin's main concern was har- mony with very little rhythmic interest. Prokofiev, as many composers in the past had had the fortune to do, came on the scene at an opportune time. His music reflects an intense rhythmic drive in addition to his own unique harmonic idiom.

After the music of Scriabin, Prokofiev's music was fresh and alive with a vigor so akin to the Russian spirit of that era. After the 1917 Revolution a new outlook was contained in "." Vladimir Mayakowsky, a Russian poet, and Prokofiev were considered leaders in this movement. They referred to each other as "Presidents of the Poetry and

Music Sections of the Universe."7

6 Nestyev, Prokofiev, p. 63.

7 Bernard Stevens, "The ," European Music in the Twentieth Century, edited by Howard Hartog (NeW Yok TM7), p. n, A CHAPTER II

THE FOUR PERIODS IN PROKOFIEV'S

CREATIVE LIFE

The total environment of a composer has a direct influ- ence on his personality, which in turn affects his creative output. "His [Prokofiev's] music was the natural product of his living personality."1

Nestyev attempts to divide Prokofiev's creative life into three periods: the period of his youth C1907-1918) when he was a student at the St. Petersburg Conservatory; the foreign period (1918-1933) which he spent in the United

States and France; and finally his Soviet period which began on his return to Russia in 1933 and lasted until his death in 1953.2

Influences on Prokofiev's style are discernible far back in his childhood and early musical training as well as through the three periods that Nestyev mentions. When he entered the St. Petersburg Conservatory at age thirteen,

Prokofiev had already written four , two sonatas, a and many piano pieces. Therefore a fourth period

1 David Ewen The New Book of Modern Composers (New York, 1961), p. 299.

2 Nestyev, Prokofiev, p. 454.

11 12 will be added in this study to include the time prior to his entering the conservatory.

Childhood

Sergei Sergeyevich Prokofiev was born on April 23,

1891. At an early age he began studying piano with his mother, an excellent pianist and intelligent teacher. She

carefully supervised his early musical training and, accord-

ing to Prokofiev, instilled in him a true love for the

classics. This can be considered the earliest influence

on Prokofiev's musical being.

The classics that Prokofiev first encountered were

"the Sonatas [Beethoven] of the first volume mostly; then

came Chopin preludes, mazurkas and waltzes. Occasionally

something of Liszt, not too difficult; and the Russian

composers Chaikowsky and Rubinstein." 3

Because of Prokofiev's early contact with the piano it

is easily seen why he chose it for his early attempts at

composition. He began composing at the age of five and by

the time he was six, he had written a waltz, a march and a .

Prokofiev's first contact with music outside his home

was in 1899 when he was taken to Moscow where he heard his

first grand opera. This experience made quite an impression

3This statement by Prokofiev is found in the unpublished part of his autobiography, "Childhood." 13 on Prokofiev, and upon his return home he immediately began composing his first opera, , which received two informal performances. Another strong influence seen in Prokofiev's early years was his exposure to the Russian and Ukrainian folk songs that he heard in the outlying villages around his home. Prokofiev grew to be a firm nationalist and always expressed a great love for his country. He was constantly striving to draw his inspiration from Russian sources rather than relying on western techniques. Many of Prokofiev's melodies have characteristics that can be traced directly to the Russian folk song. Among these characteristics are his preference for the diatonic style, the alternation of modes and his tendency toward free rhythm. Evidence of these traits can be seen by exam- ination of a typical Russian folk song.

A ---VA A a F I AA- Ef ---I - Mr qw I

Am MAI

L r3 rl k, - -4L V p fjF% x F, ow w . Mu w ir

Fig. 5--'Rl*'se, Thou Golden S'un' Rise arranged by Rims ky - Ko rs ak'o'V"", 14

Two of the many examples that can be cited from Pro- kofiev's piano music that exhibit folk-like qualities, are the themes from his Third Sonata and Second Concerto, last movement.,

WA &an

Pit) p semplive e dolce

I low

hill-" - dL - - - I I I I

F4 ig.0 6--Sonata No. 3, Op. 28, meas. 58-59

I 4--v -.4 w i -0,

MaiI IMF mw NAW w

%..0000'

Fig. 7--Concerto No. 2, Op. 16, fourth movement, meas. 100-104.

Another interesting device that Prokofiev uses is the

variation technique of inner-thematic development, which is

so characteristic of slow Russian folk songs. This can be

seen in the first theme of the Third , first movement. 15

Fig. 8--Comparison of the introductory theme of the clarinet (a) and the first theme of the piano entry (b).

Prokofiev's first contact with a professional composer

came in 1902 on his second visit to Moscow when he was intro- duced to . Taneyev saw promise in the young

composer and advised him to begin formal training.

Prokofiev's first teacher, Pomerantsev,4 was correct in what the young boy should be taught, but presented the funda-

mentals in a much too dry and academic way for a young boy

of eleven who had already composed two operas and several

piano pieces. "I wanted to compose operas with marches and blood-curdling scenes and instead they saddled me with tit-e-

some exercises."S This is the first in a long line of con-

flicts that arose between student and teacher.

The summer of 1902 began Prokofiev's study and lasting

friendship with Reinhold Gliere. Gliere possessed the abil-

ity to cope with this active young mind and teach him at the

same time. Prokofiev refers to Gliare as a "born teacher."6

4 No other information about this person was given by Prokofiev, other than he was a friend of his' parents. 5 Serge Prokofiev, Autobiography (Moscow, 1959), p. 19. 6lbid4 16

It was under Gliere's instruction that Prokofiev began writing a series of piano pieces as a result of his study of the three-part song form. Prokofiev wrote twelve of these Little Songsa year over a five year period from 1902 to 1906, amounting to sixty pieces in all. Even from the earliest pieces, despite the elementary harmony, one can see his inclination toward rhythm and a quality, especially the march, waltz and polka.

Vivo L w Ad

TZ MIL_?WAf-- t 79

F P;

Fig. 9--No. 4, Series I

Prokofiev's quick humor is evident when, later, he

was given reason to re-name these little pieces: "I called them 'Little Dogs' now instead of 'Little Songs,' because

someone had told me that they 'snapped at you' ,.

7Ibid. , p. 23. 17

espressivo i i 4 40- a-

NO 1 JL A -OC 17-

A ft "n filmArt

Ll '71 t

hir -A* tffT

V%4JF W_ jL TT

1, A a t A A -2 X" I& - -- A. AP, I AD ff I - -1 - , - -- 0:i :f 1 -- - #

Fig. 10--No. 10, Series I

From Prokofiev's childhood three important influences can be seen: first was his encouragement in his home where he received his earliest training, second was his contact with the Russian folk song and third was the result of the knowledgeable teaching of Gliere and the strong influence it had on Prokofiev's later productivity.

Youth

Prokofiev continued his study with Gliere until he entered the St. Petersburg Conservatory in 1904. Here he came under the influence of Rimsky-Korsakov, Glazunov and Lyadov.

The next ten years show the gradual development of Prokofiev's musical style, The classes at the conservatory served little purpose, as far as Prokofiev was concerned, 18 in aiding his imaginative and creative growth. "Lyadov's classes in harmony were extremely dull" and "I began to 8 write carelessly, and Lyadov was greatly displeased."

Lyadov was not the only one displeased for Prokofiev seemed to have a natural gift for trying the patience of his pro-

fessors. Rimsky-Korsakov considered Prokofiev "gifted but

immature ."9

In 1906 Prokofiev met Nikolai Miaskovsky and a lifelong

friendship was established. Miaskovsky was influential in

broadening Prokofiev's knowledge of current musical trends.

Together they studied and played the music of Reger, Richard

Strauss and Debussy, as well as listening to and criticizing

each other's compositions.

In 1908 Prokofiev was introduced to the "Evenings of

Modern Music." This society, which began in 1901, was a continuation of Serge Diaghilev's "The World of Art." This

movement brought Western art to the attention of the

and was directly responsible for the formation of the Rus- sian , of which Diaghilev was impresario. Although

severely criticized for spreading Western decadence, the

"Evenings of Modern Music" strongly influenced the young

Russian composers. of that time.

On December 31, 1908, Prokofiev appeared for the first

time before an audience of the "Evenings of Modern Music"

8 lbid,, p. 22. lbid.,p. 24. 19 playing seven of his piano compositions. Four of these were later incorporated into his Opus 4. The most original and definitely startling of the seven pieces was the last piece, entitled "Diabolic Suggestions."

It demonstrates Prokofiev's total release from the style of

List, Schumann, Chopin, Rachmaninov and Scriabin. Above all, it suggests Prokofiev's thorough knowledge of the key- board and his striving to explore its possibilities. "This toccata quality is to be found in a good quarter

of all his music."1 0 Prokofiev states that this character-

istic found in his music is "traceable perhaps to Schumann's

Toccata which made such a powerful impression on me when I

first heard it."l

It is interesting to compare sections of Schumann's

Toccata with Prokofiev's. In several instances Prokofiev

makes use of identical technical devices.

5 4 3 4

3 3

Fig. 11--Schumann Toccata, Op. 7, meas. 34-35

10Heinrich Neuhaus, "Prokofiev, Composer and Pianist," Autobiography, Articles, Reminescences, edited by S. Shilfstein (.Mos ow, 1959),.~9. "lProkofiev, Autobiography, p. 36. 20

I

-AL -A-W. *A*W 0 WO I -L L

Fig. 12--Prokofiev Toccata, Op. 11, meas. 82-83

T Ar L- AW, AIW _-AM %W

IP-110000" celerando

Olt oll WW,- Z5.) . 3 2 3 - I

Fig. 13--Schumann Toccata, Op. 7, meas. 252-254.

X, u I 74)

lvk

Fig. 14--Prokofiev Toccata, Op. 11, meas. 57-58

This toccata quality can also be seen in his Etudes,

Op. 2, Scherzo, Op. 12, the Scherzo of the Second Concerto,

the Toccata in the Fifth Concerto, the finale of the Seventh

Piano Sonata and in the difficult Toccata, Op. 11. The 21

Toccata, Op. 11, is a direct continuation of "Diabolic

Suggestions" and startled audiences with its daring har- monies and impetuous rhythms.

In this period a great amount of effort was spent in experimenting, inventing and seeking original means of

expression. This search for originality even goes as far as bitonality, as can be seen in the Sarcasme, Op. 17, No. 3.

Allegro precipitato (17 6)

serioso

Fig. 15--Sarcasme, Op. 17, No. 3, meas. 2-3

This experimentation resulted in Prokofiev's being labeled

as an "enfant terrible" of Russian music. 1 2

Another important influence on Prokofiev was his studies

with Nikolai Cherepnin. Prokofiev was enrolled in Cherepnin's

class. Even though Cherepnin saw very little po- tential in Prokofiev as a conductor, he played a big role in

Prokofiev's musical development.

1 2 M. D. Calvocoressi, A Survey of Russian Music (Great Britian, 1944), p. 95. 22

Cherepnin drew Prokofiev's interest to the classical style. "I found myself acquiring a taste for Haydn and

Mozart." 1 3 Many of Prokofiev's characteristic piano traits can be directly traced to classical elements, even to the extent of the titles: Badinage, March, , Rigaudon,

Mazurka, Scherzo, Allemande, Prelude, Minuet, Waltz.

Prokofiev in a sense instituted the revival of the sonata as known by Beethoven. The sonata had taken on a different appearance in romantic literature and in the

twentieth century it was more akin to the sonatina or diver-

timento except for BartOk's sonata and Hindemith's larger

sonatas.

Prokofiev's nine piano sonatas cover his entire stylis-

tic development from his years at the conservatory through

maturity. Most of them adhere to the usual three or four

movement plan and contain the standard formal plans for the

movements. Nestyev comments:

No matter how unusual his musical idiom was, he remained loyal to such time-honored classical forms as the sonata allegro, the rondo sonata, the vajiation, and several kinds of three-part forms.

Prokofiev himself states that "I want nothing better,

nothing more flexible or more complete than the ,

which contains everything necessary to my structural purposes." 1 5

1 3 Prokofiev, Autobiography, p. 29. 1 4 Nestyev, Prokofiev, p. 467. 1 5 Max Graf, Modern Music (New York, 1946), p. 227. 23

Other elements found in Prokofiev's piano music that can be directly traced to the classical style are his hand crossing and leaps similar to the style of Scarlatti

Allegro marcato l..s.. S.M. m. d.

Fig. 16--Sonata No. 2, Op 14, second movement, meas. 1-2. 8 L-

and his rapid scale passages so reminiscent of Haydn and early Beethoven.

Allegro V..... I _-_-

tempestoso -.00o-

Fig. 17--Concerto No. 3, Op. 26, third movement meas. 39-40.

In 1914 Prokofiev graduated from the conservatory with

diplomas in composition, piano and conducting.

Up to this point Prokofiev's creative ability developed

along five basic lines which he himself states in his 24 incomplete autobiography. The first was the classical ele- ment which can be traced back to his mother and Cherepnin.

Today this element is considered neo-classical, If that is the case, then Prokofiev foreshadows Stravinsky who is 1 6 accredited with starting the general movement. The second

element is that of innovation. Prokofiev was constantly

striving for originality. In this attempt he helped develop the twentieth century style of piano composition. The third

is the toccata or "motor" element which was so characteris-

tic of a good deal of his music. The fourth element and the

one considered most important by Prokofiev, is lyrical. At

first Prokofiev was denied this characteristic. The reason for this is given by Prokofiev himself:

Certain people are ever urging.me to go in for feeling, for emotion, for melody. And so I do, but they are unable to realize it. Not all ears are equally capabj of per- ceiving melodies that are new.

The final element is the "grotesque" quality found in

his music. More evidence of this quality is found in the

music composed during his youth. It seems to be derived

from his quest for innovation as seen in this "Diabolic

Suggestions."

1 6Willi Apel in his Harvard Dictionary of Music, p. 484, states that " as a geneFFl 5iVement did not start until 1923, when . . . startled the musical world with his for Wind Instruments." 17 Calvocoressi, A Survey of Russian Music, p. 97. 25

Fig. 18--Prokofiev, "Diabolic Suggestions," Op. 4, No. 4, meas, 27-28.

.0_ .

*1 r Isu

Fig. 19--Prokofiev, "Diabolic Suggestions," Op. 4, No. 4, meas. 97-98.

Prokofiev preferred the word "scherzo-ish" instead of

"grotesque," Perhaps an even better term would be "humor."

Humorous characteristics can- be traced to nearly every com-

poser at one time or another. An excellent example of Pro-

kofiev's wit is in the finale of the Third Concerto where

the lyrical melody introduced by the is interrupted

by the piano in a brief section resembling that of a cat's "meow." 26

istesso tempo )

33 n INA

Fig. 20--Concerto No. 3, Op. 26, third movement, meas. 170-171.

Foreign

Shortly after his graduation from the conservatory

Prokofiev went to London where he had his first encounter with Serge Diaghilev, impresario of the Russian Ballet.

Diaghilev greatly influenced Prokofiev in both style and

form of composition. Before meeting Diaghilev, Prokofiev

was planning an opera based on Dostoevsky's ,

but Diaghilev persuaded him to postpone it to write ballet

music. Prokofiev had not composed ballet music until his

meeting with Diaghilev and four of his seven were commissioned by Diaghilev.

The first product of this meeting was the ballet Ala

and Lolli which Diaghilev rejected and Prokofiev later made

into his famous . Diaghilev criticized Pro-

kofiev for not writing in a true Russian style of which he

considered Stravinsky to be a master.

Although distinct evidence of a "Russian flavor" can be

heard in Prokofiev's earlier works, as already mentioned, this is the first time that he admits to be directly striving 27 for this and even goes so far as to state that he was possi- bly influenced by his early contact with the Russian folk song: In my childhood in Sontsovka I had often heard the village girls singing in chorus on Saturday evenings or on Sunday. It is possible. . . that subconsciously I was affected by the vil- lage songs, for now the Russian national idiom comes quite easily to me.1 8

At the outbreak of the 19.17 Revolution, Prokofiev came to the United States. He came seeking a new frontier in which to introduce his music and gain quick fame and fortune.

He immediately scheduled several concert engagements and quickly encountered disappointment from his new audiences.

At first, just as Scriabin, Prokofiev performed mainly his own piano works. The press was ready to attack his music as well as his style of playing.

One critic charged that his music reminded him of "a charge of mammoths across some vast immemorial Asiatic plateau."19 He was said to play as if he had "steel fingers, steel wrist, steel biceps, steel triceps and was the perfect specimen of the soulless, heartless man the Bolshies were turning out--a music machine.",2 0

After this Prokofiev was forced to include pieces of

Bach, Beethoven and Chopin on his programs. Occasionally one or two of his own pieces were permitted,

1 8 Prokofiev, Autobiography, p. 20. 1 9 Lawrence and Elizabeth Hanson, Prokofiev (New York, 1964), p. 18. 2 01bid., p. 19. 28

The failure of his opera, The Love for Three Oranges, to be produced,in addition to his much dreaded concert tours, caused Prokofiev much misery and unhappiness. Suddenly he found America unbearable with its sharp critics and "Beethoven-loving" audiences.

From the United States, Prokofiev went to . The death of Debussy in 1918 in addition to the dwindling popu-

larity of Ravel saw the passing of the important age in French music.

Paris at this time was considered the center of modern

music, and anything new and novel was an instant success.

This, in addition to the fact that Diaghilev was in Paris,

which afforded Prokofiev the opportunity to write ballet

music again, revived Prokofiev's spirits. Prokofiev held very little respect for the music of the

French Impressionists, yet he admired Ravel for his clarity of form.

Even while not in support of this movement, moments

do occur in Prokofiev's writings that are reminiscent of this

style. An example of this can be seen in the fourth varia-

tion of the second movement of the Third Piano Concerto (see Figure 21).

Prokofiev's piano writings for this period are few. Before leaving Russia he had composed his Fugitive Visions,

Op. 22, and while in America he had written the Old Granny's 29

Tales, Op. 31, and Four Pieces, Op. 32, in hope of getting paid for their publication, which failed.

90

P'r)ten, 'U delcatiss o ten.

Pft-

PVt - - - - ______con sard.~~-~.

Via.

ppp VTV In0 , A 1')',pl_ ifp

I.so 1

MICZE

A ~~V 4 -bi T t--P t--VPP ===1 V3 t Warr- 1 1 1 1 -1 - 11 . I - " -- I - PPF PL I espress Pfte.

vi, I )Ydoice

vi. 11

Via. Pp'

Vc.

tntsC. Con Soed. b.

pp S & H. S842

Fig. 21--Concerto No. 3, Op. 26, second movement meas. 67-73. 30

Prokofiev did complete his Third Concerto while abroad, although many of the themes had already been composed and date back as far as 1911. This concerto is considered one of

Prokofiev's masterpieces and is a great contribution to the concerto literature of the piano.

In Paris Prokofiev came under the influence of Stravinsky and Les Six. His writings for the piano turned toward the miniature and neoclassical aspects: the two Sonatinas of

Opus 54, the Three Pieces of Opus 59, and Things in Themselves,

Op. 45. The Fifth Sonata (1923) and the Fourth and Fifth

Concertos (1931, 1932) were the only large works written during this time.

The Fifth Sonata, Op. 38, was later revised after Pro-

kofiev's return to Russia and became Opus 135. This sonata

is lacking in the qualities so characteristic of Prokofiev's

earlier writings. It contains much chromaticism and even

contains passages of , a device which was so

characteristic of Milhaud,

-oil

Li did 64 44 iq --.L-- 0

Fig. 22--Sonata No. 5, Op. 38/135, first movement meas. 82-83. 31

shows the com- Nestyev states that this sonata "clearly of his early piano com- poser moving away from the vitality 2 1 and attributes positions toward a cold formal speculation," 2 2 it to the "influence of bourgeois art in Paris." on in his Forward to Nestyev's book that the Prokofiev, states that "Nestyev takes the position detrimental to years Prokofiev spent abroad were generally his art." 2 3

Detrimental or not, the fact remains that there was

little activity as far as piano composition was concerned.

What was written is lacking in originality and the energetic earlier works. quality that characterizes Prokofiev's

Soviet

Dissatisfied with his life in the West, Prokofiev

returned to Russia in November of 1932. Almost instantly

he began composing at a rapid pace, twenty-seven works in

five years. New strength and inspiration, which character-

ized the period of his youth, was evident. He soon reached musical life. the position of first importance in the Soviet Slonimsky believes Prokofiev to be "probably the greatest 4 single influence in Soviet music",2 at this time.

2 1Nestyev, Prokofiev, p. 210, 2 2 Ibid., p. 211. 2 3 ,bidypV.,

2 4 Nicolas Slonimsky, "Serge Prokofiev," Great Modern 43j,-p. 282. Composers, edited by Oscar Thompson (New YorkT 32

Many changes had taken place in Russia since Prokofiev's departure in 1918. It would be helpful at this point to

retrogress briefly and see how these important changes were

influential, if at all, upon the mature Prokofiev. The 1917 Revolution saw the overthrow of the Czarist

regime and Lenin's rise to power. The Lenin regime viewed "" in music with a relatively liberal attitude.

The dogmatic restrictions that were later enforced were not

present in the arts at this time. This resulted in major

conflicts among composers as to the definition of a truly.

Russian style of composition.

The death of Lenin in 1924.was followed by the dicta-

torship of Stalin and the formation of the Russian Associa- tion of Proletarian music.

RAPM, as it was known, presented a real threat to the

future of Russian music in its attempt to rid Russian music

of what it described as bourgeois and decadent influences

from the West. Stravinsky and Schoenberg were cited as

examples of composers who strongly exhibited this influence.

At this point it becomes impossible to separate the

arts from political influence. The music life of Soviet

Russia became completely controlled. "Soviet realism"

became the official doctrine of Soviet art, which resulted

in a new policy toward music: 33

The composer's role is to glorify the great new Russia, extol the beauty of the workman's efforts, depict the country's agricultural and industrial development, and express the pple's joy and faith in the future of socialism.

This policy resulted in such works as Kastalsky's

"Agricultural Foundry" and Shostakovich's "Lenin" Symphony. Even Prokofiev was caught in the movement as can be seen in such works as his Zdravista ("Hail to Stalin") and

Twentieth Anniversary of the October Revolution.

In 1932 RAPM was dissolved by a government decree. It became obvious to officials that matters were getting out

of control. Even though it no longer existed, the spirit of

the movement lingered on until 1936, when the famous anathema

was brought against Shostakovitch for his opera Macbeth

of Mtzensky. He later redeemed himself with his Fifth Sym-

phony which was sub-titled "A Soviet Artist's Reply to

Justified Criticisms."

On February 10, 1948, came the famous decree of the

Central Committee denouncing the music of Prokofiev, Shosta-

kovich, Khatchaturian and Miaskovsky for what was described 2 6 as "'decadent formalism' in their musical thinking."

Prokofiev later reconciled himself with his works On

Guard for Peace and Winter Bonfire in addition to a statement

of apology written to the government officials:

2 5 Andre Hodeir, Since Debussy; a View of Contemporary Music (New York, 1961T7 215

2 6 David Ewen, Eurpean Composers of Today (New York, 1954), p. 125. 34

There have been formalist elements in my music for the last fifteen or twenty years. The infection must have been caused through 2 7 contact with certain Western currents.

The origin of "Soviet Realism" seems to be based on the

Tolstoyan principle "that art of every kind should appeal, 2 8 even on a first experience, to the untutored."

Under this policy self-expression and originality are nullified. The direction which Russian music was to take was predetermined. At this pace "soon the glorious moment will come when one will not be able to tell which work is 2 9 by Shostakovich and which by Kabalevsky." The total style that Russian music was destined to take

is given by Nicolas Nabokov in his article on Soviet music: The essential characteristic of this new music written according to these canons is that it is free from discords (only very familiar ones occur), that it is conventional in its rhythmical and melodical patterns (no jazz melodies or jazz rhythms), and that its formal aspect is of a rudimentary, old-fashioned nature. The type of melodies used in this so-called new music, their genre, and their quality remind one of the most trivial and dull pseudo-folk-songs of the turn of the nineteenth century. Translated into American terms they represent a cross between the barber- shop quartet and the college song. The style of this music is conventionally I rmonic and practi- cally devoid of .

2 7 Alexander Werth, Musical Uproar in Moscow (London, 1949), p. 95.

2 8 Hodeir, Since Debussy, p. 209.

2 9 Nicolas Nabokov, "Music in the Soviet Union," Musical America, LXXI (February, 1951), 12. 30 Ibid. 35

the Boris Schwarz has made the statement that "in all

Soviet Union not a single interesting composer has emerged area of since 1930."31 This is particularly true in the keyboard music, as Gillespie states: The Russian composers--excluding Prokofiev and Shostakovich--have not devoted their talents very generously to keyboard music, but in fairness it should be pointed out that the piano is not a typical Russian instrument; it is oot equipped to exploit the multihued tonal colors so prevalent in native Russian music. 3 2

Another reason that may account for this small reper- toire of piano literature is that the Central Committee frowns upon music which is written for individuals or small numbers of people.

On Prokofiev's return to the Soviet Union "there is a notable renascance of the lyrical quality, together with a 3 3 decrease in the element of pure grotesque." There are few works written for the piano during this Op. 65, period. Thoughts, Op. 62, and Music for Children, are his only works in the smaller forms. The most notice-

able works are his last four sonatas of which the Seventh

received the Stalin Prize in 1944.

3 1Boris Schwarz, 'Soviet Music Since the Second World War," The Musical Quarterly, LI (January, 1965), 278-279. 3 2 John Gillespie, Five Centuries of Keyboard Music (California, 1966), p. '63~.

3 3Quotation by Nicolas Slonimsky, Abraham Veinus, Victor Book of Concertos (New York, 1948)0, p. 331. 36

The Sixth, his longest sonata, and Seventh Sonatas were written during the Second World War and are outstanding works. The Eighth and Ninth Sonatas (even though the Eighth was begun the same year as the Sixth and Seventh) comprise yet another stylistic unit that when compared to the two preceding sonatas, produce a style that was alien to Prokofiev.

These last piano works were all completed before the 1948 decree of the Central Committee. It would be difficult even to speculate that political influences do exist in these works without the aid of programmatic titles.

Prokofiev in the last three periods of his life produced a great wealth of literature for the piano. These works cover many styles and forms. Perhaps his constant striving for some- thing new and original accounted for this fact.

Prokofiev viewed his changing style or attitude in this manner:

In my youth, I sought above all things to compose original, singular music. Later, I began to delve deeper below the surface of the art. I started going in for simplicity immediately after having composed my second and third . . . . My three piano sonatinas were the first fruit of this policy.

3 4 Calvocoressi,A Survey of Russian Music, p. 96. CHAPTER III

PROKOFIEV'S PIANISM

History has seen many composer-pianists. In a majority of the instances, popularity was achieved first as a pianist, of then as a composer. "It is virtually impossible to think not a com- a pianist or violinist before the 1850s who was pianists. Before poser." Mozart was the first of the great him came the masters of the harpsichord and clavichord,

Johann Sebastian Bach and Domenico Scarlatti.

After Mozart came a long line of composer-pianists

leading up to Prokofiev. Among the more important were Bee-

thoven, Chopin, Brahms, Liszt, Rachmaninov, Debussy, Medtner,

and Scriabin. Their profound knowledge and experience with

the keyboard can readily be seen in the music they wrote for the instrument.

One reason for this great number of composer-pianists

before the 1850s is the manner in which the early concerts

were conducted. They were largely exhibitions. Many com-

posers including Mozart, were accomplished improvisators.

Many of their pieces were improvised in performance, then later written down, It was not until Liszt that the solo recital came into being.

1 Harold C. Schonberg, The Great Pianists from Mozart to Present (New York, 1963), p7.31.7

37 38

Prokofiev could possibly have been the last in the long line of composer-pianists and the first exponent of the twentieth century school of piano playing. "Prokofiev's way of writing for the piano arose from his own distinctive manner of playing it."2 Harold Schonberg states:

As a pianist Prokofieff was the New Man of the century. He had little in common with the past, and his playing was completely original. His influence upon the century's piano philo- sophy was profound. This was the kind of approach needed to play Bart6k, Stravinsky and the other moderns. 3

Therefore, Prokofiev's pianism not only influenced his style of writing for the piano but was also to influence the performance styles required to play other twentieth century composers. Bart6k, Stravinsky and Prokofiev, treated the piano basically as a percussive instrument in opposition to the "hammerless" piano suggested by Debussy's music.

It will be helpful to consider some of Prokofiev's

principal traits as a pianist, for "the specific features of Prokofiev, the pianist, are so intricately bound up with those

of Prokofiev, the composer, that it is almost impossible to

consider them separately." 4 From them one can see where many

of his daring technical passages resulted. Poulenc referred

to Prokofiev as the "Liszt of Russian music."

2 Alfred Frankenstein, "Prokofiev on Microgroove," H Fidelity, VI (March, 1956), 95. 3Schonberg, Great Pianists, p. 394.

4 Neuhaus, "Prokofiev Composer and Pianist," p. 233, 39

Prokofiev held a great deal of contempt for the

"temperamental" performances that had made many pianists popular, Chopin and Liszt in particular. Instead his steel playing conveyed energy, confidence, indomitable will, 5 Pro- rhythm and a powerful tone." One critic's account of kofiev's unique style was

His tone was somewhat dry, but he played with amazing assurance and freedom. Beneath his fingers the piano does not sing or vibrate. It speaks with the stern and precise tone of a percussion instrument. ,66. the tone of the old-fashioned harpsichord.

Prokofiev could have, in all probability, become an outstanding professional pianist with a universal repertoire.

From all accounts, technique presented no problems for him

and he exhibited some extraordinary wrist-work and staccato

in addition to his astonishing ability to execute rapid

scale passages and large leaps. Because of these traits, he 7 soon gained the title of "footballpianist." 8 Composers seem to inherit "mystic ages." One pictures

Beethoven as a mature man, Mozart as a child, Bach and Brahms

as aged men and Prokofiev as a youngster. Prokofiev's ener-

getic style of writing stems directly from his youthful

approach to the keyboard.

5 Ibid.

6 Quoted in Schonberg, Great Pianists, pp. 391-392.

7 Neuhaus, "Prokofiev, Composer and Pianist," p. 234. 8 Leonid Sabaneyeff, Modern Russian Composers (London, 1927), p. 92. 40

Prokofiev made a few recordings of his own works.

From them one can get an even better idea of his style.

His recording of his Third Piano Concerto is considered among the best. CHAPTER IV

CONCLUSION

This study has attempted to reveal the most evident influences that exist in Prokofiev's music. The combining of these influences results in five basic elements, already mentioned , that constitute his style. Influences seen in a compose-'s style are an inevitable fact. Despite this, Prokofiev succeeded in producing original music, which he considered of the utmost importance: The cardinal virtue of my life has always been the search for originality. I hate imitation. I hate hackneyed methods. I do not want to wear anyone else's mask. I want always to be myself.1

Prokofiev's music was always Prokofiev. There is no

mistaking that. In a statement to the press, one of Proko-

fiev's sons gave this reply to a question concerning his

father's working methods: He starts by writing a piece of music that sounds like everyone else's, then puts the 2 Prokofiev stamp on it.

Prokofiev was a well-rounded musician. In addition to

his literature for the piano, he wrote eight operas, seven

ballets, seven symphonies, and numerous orchestral, choral

'Quoted in Nestyev, Prokofiev, p. 466. 2 Quoted in Hodeir, Since Debussy, p. 209.

41 42 and chamber works. He has done more, than any other com- the poser, with the exception of Bart6k, to further twentieth century literature for the piano. What little Russian piano music is written today comes from Khatchaturian, Kabalevsky and Shostakovich. De-

spite the fact that their works for piano have been popular with foreign performers and audiences, their output remains quite small. Pianists owe a great deal to Prokofiev for his love of the instrument. The Third, Sixth and Seventh Sonatas, in addition to his Second and Third Concertos, are frequently yet to performed. The wealth of remaining literature has see a complete revival, although occasionally his Fugitive Visions, the Toccata and the Sarcasme are programmed. Prokofiev's first Opus is his First . The remain last, Opus 137, is the Tenth Sonata. Only sketches of this sonata and a sixth concerto for two and string orchestra. APPENDIX

CATALOGUE OF THE PIANO WORKS OF

Sonatas Composed

1 Sonata No. 1 in F Minor 1907

14 Sonata No. 2 in 1912

28 Sonata No. 3 in A Minor 1907

29 Sonata No. 4 in 1908

38/135 Sonata No. in C Minor 1923/1953 82 Sonata No. 6 in 1939-1940

83 Sonata No. 7 in B-Flat Major 1939-1942

84 Sonata No. in B-Flat Major 1939-1944

103 Sonata No. 9 in C Major 1947

Concertos

10 I in D-Flat Major 1911-1912

16 II in 1913

26 III in C Major 1917-1921

53 IV in B-Flat Major (Left Hand) 1931

55 V in G Major 1932

43 44

Solo Works Composed

2 Four Etudes 1909

Four Pieces 1907-1908

Story "a nage March Phantom

4 Four Pieces 1907-1908

Reminiscence Elan i4lTU1fI-c Suggestions

11 Toccata 1912

12 Ten Pieces 1906-1913

Marche Gavotte MazurKa Carice re u e Allemande Scherzo Humoristiue Scherzo

17 Sarcasms 1912-1914

22 Fugitive Visions 1915-1917

31 Tales of the Old Grandmother 1918

32 Four Pieces 1918

Danza Me-nue tto Gavotta Walt z

45 Things in Themselves 1928

54 Two Sonatinas, and G Minor 1931-1932 45

Composed

59 Three Pieces 1934 Promenade Paysage Sonatine

62 Thoughts 1933-1934

65 Music for Children 1935

Transcriptions of Various Works

33-ter March and Scherzo from The Love for Three Oranges

43-bis Divertissement

52 Six Pieces from Op. 46, 48, 35, and 50

75 , Ten Pieces

77-bis Gavotte No. 4 from the music for HamTlet

95 Three Pieces from

96 Three Pieces from War and Peace and the film Lersontov 97 Ten Pieces from

102 Six Pieces from Cinderella

Other Works

Sixty Little Songs (five series written betwienT902 an 1906).

Schubert Waltzes transcribed into a suite for piano, two hands. Unpublished. Later revised for two pianos, four hands and published in 1923.

Organ in D minor by Buxtehude, arranged for piano. BIBLIOGRAPHY

Books

Abraham, Gerald, Eight Soviet CoMposers, London, Oxford University Press, T94~3.

Apel, Willi, Harvard Dictionary of Music, Cambridge, achusetts , Harvard~Univrsity-Press, 1966.

Boelza, Igor, Handbook of Soviet Musicians, London, Pilot Preis Ltd., T743.

Botsford, Florence Hudson, editor, Russian Folk-Songs, New York, G. Schirmer, Inc., 0929.

Brower, Harriette, Modern Masters of the Keyboard, New York, Fredericr X.~"tokesC.'~12. M. D., A Survey of Russian Music, Great Calvocoressi, 4 Britain, PenguinBkooks, l 4.-

Chasins, Abram, Speakin of Pianists, New York, Alfred A. Knopf, 1958.S

Copland, Aaron, Our New Music, New York, Whittlesey House, 1941.

Ewen, David The Complete Book of Twentieth Centur Music, Englewoo oliffs, New"e5se, Prentice-all, In",T1952. European Composers Today, New York, The I..'TWi son o., 1954.

, The New Book of Modern Composers, New York, Al fred AW~~n3T,T9W1.

Gillespie, John, Five Centuries of Keyboard Music, Belmont, California, Wadsworth Pubishing Co., Inc., 1966.

Graf, Max, Modern Music, New York, Philosophical Library, 1946.

Hanson, Lawrence and Elizabeth, Prokofiev, New York, Randon House, 1964.

Hodeir, Andre, Since Debussy: a View of Contemporary Music, New York, Grdor Press, Inc,97~T9T.

46 47

Hutcheson, Ernest, The Literature of the Piano, New York, Alfred A. Knopf, 1949.

Kirby, F. E., A Short History of Keyboard Music, New York, The Free Press, 1966.

Lang, Paul Henry, Music in Western Civilization, New York, W. W, Norton and Co., Inc., 1941.

Machlis, Joseph, Introduction to Contemporary Music, New York, W, W. Norton anW'Co., Inc,, 1961.

Moisenko, Rena, Realist Music: 25 Soviet Composers, London, Meridian Boks~Tstd.,~1949.

Montagu-Nathan, M., Contemporar Russian Composers, London, Garden City Press Lt~7T9T7.

Nestyev, Israel V., Prokofiev, Stanford, Stanford University Pres7~~ 0 T

Prokofiev, Serge, Autobiography, Articles, Reminiscences, compiled, edited and notes by~S.~~hlifstein, Moscow, Foreign Languages Publishing House, 1959,

Sabaneyeff, Leonid, Modern Russian Composers, London, Martin Lawrence Ltd., 1927.

Saminsky, Lazare, Music of Our Day, New York, Thomas Y. Crowell Co., 1932.

Schonberg, Harold C., The Great Pianists from Mozart to the Present New York, Simon and Schuster, 1963.

Slonimsky, Nicolas, "Serge Prokofieff," Great Modern CoMgosers, edited by Oscar Thompson, New York, Dodd, Mead and Co., 1943.

Stevens, Bernard, "The Soviet Union," European Music in the Twentieth Centuy, edited by Howard Hartog, New York, Frederick A, Praeger, Inc., 1957. Veinus, Abraham, Victor Book of Concertos, New York, Simon and Schuster,~1948.

Werth, Alexander, Musical U in Moscow, London, Turnstile Pres,T9, 48

Articles

Frankenstein, Alfred, "Prokofiev on Microgroove," ig Fidelity, VI (March, 1956), 95.

Nabokov, Nicolas, "Music in the Soviet Union," Musical America, LXXI (February, 1951), 12.

Schwarz, Boris, "Soviet Music Since the Second World War," The Musical Quarterly, LI (January, 1965), 259-281.

"Composer, Soviet-Style," Time, XLVI (November 19, 1945), 57-62.

Yarustavsky, Boris, "Soviet Music: 1961," Musical America, LXXXI (June, 1961), 28-29.

Music Scores

Moussorgsky, Modeste, Pictures at an Exhibition, Edwin F. Kalmus.

Prokofiev, Sergei, Contes de la Vieille Grand'mere, Op. 31, Boosey~~TnawTs~~1947* ,PianoConcerto No. 2, Op. 16, Inter- national Music ~1953: Piano Concerto No.* 3 Op. 26, Inter- national Music"1C564 0I06

Piano Sonata No. 2, Op. 14, Leeds Music Corporation, 7

, Piano Sonata No. 3, Op. 28, Leeds Music Corporat~~~95 7 7 V Piano Sonata No. S_, Op. 38/153, Leeds scorporatio~n,~1957. Selected Works for the Piano, compiled y5TErno Balogh, Vol. 1766, G. Schirmer.

, Toccata, Op. 11, Edwin F. Kalmus.

Schumann, Robert, Toccata, Op. 7, G. Schirmer, 1916.

Scriabin, Alexander, Piano* Sonata No, 5, Op. 53, Leeds Music Corporationff~49T.